SECTIONS

Thursday, March 26, 2020

Had I still been a naïve teenager obsessed with the mythos of ancient volcanic disasters, a movie like “Pompeii” would have provided one hell of a visual wet dream. Here is an ambitious production mounted in the tradition of old Hollywood epics, stretched beyond the scale of a mere screen, and hitched to that dependable staple of disaster films that seek to show us an array of grandiose visions that are both terrible and awe-inspiring. Unfortunately, time and experience often separates us from simpler pleasures, relegating our measurements of entertainment to comparisons of other, more sophisticated endeavors. A read-through of the premise immediately conjures up all those conventional comparisons: among other things, the story contains a main character obsessed with revenge while fighting for his own life in public arenas (“Gladiator”), ancient roman political intrigue (“Troy”) and a blossoming romance between young faces that are separated by class divides (“Titanic”), all set in the foreground of a catastrophe looming in the distance (any number of well-known blockbusters of the past thirty years). Take away all those call-backs, and what you are left with is basically a competent action picture that retreads to the safety of its formulas, primarily because it doesn’t have the desire, much less the thought, to pursue more challenging avenues.

Tuesday, March 17, 2020

During a schmaltzy greeting card monologue in the opening scenes of “Dirty Love,” the heroine informs us that “love is unreal,” before launching into a scene of hysteria after she has discovered the love of her life in bed with another woman. Most people scarred by that sort of discovery, at least in a comedy, would usually plot some sort of devious revenge. Rebecca (Jenny McCarthy) opts to make her grief an incompetent public spectacle, which will include her approaching sex workers for job applications, showing up to public gatherings on the arms of awkward losers, and avoiding run-ins with her ex in various locales, like a grocery store while she is tripping over her own menstrual blood. Are you still listening to this? These are the sight gags of a filmmaker who has watched a plethora of outrageous comedies but has only memorized out-of-context punchlines, relegating everything that he does to a one-note show of languid showmanship. Even then, most narrow concepts could be forgiven if they produce laughs, however shallow. John Asher’s junkyard of a film, unfortunately, only inspires the sorts of groans usually reserved for painful indigestion.